référence : http://listes.cru.fr/arc/mascarene/1997-09/msg00022.html
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Experimentation du Spectateur Teatri di Vita



Je voudrais vous presenter le Centre pour l'Experimentation du
Spectateur. C'est un nouveau projet que Teatri di Vita (a Bologna,
Italie) a organise pour analyser et renouveler son rapport avec le
public. L'acteur fait "recherche", l'organizateur aussi peut
"rechercher" nouvelles facons de programmer son saisons theatrales...
mais le spectateur?
Nous avons pense a un programme (en 4 parts) pour permettre a notres
spectateurs de se-experimente dans la vision de les spectacles qui nous
programmons. C'est un projet jamais realise en cette forme et
articulation, et il aura l'attention de quelques professeurs
d'universite.

Je pense que notre projet peut interesse les amis de Queatre, surtout
pour l'analyse de la question de la reception de l'evenement theatrale.
Tous les materiaux seront rassembles, archives, peut-etre publies, et
surement mis a disposition de tous les etudiants.

Excusez-moi mais malheureusement j'ai seulement une traduction du projet
du Centre en anglais.
Voila le projet et merci pour tous votres conseils, attention,
curiosites, aides et... autres.

Stefano Casi
directeur artistic de Teatri di Vita

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TEATRI DI VITA - CENTRE FOR THE EXPERIMENTATION IN THE AUDIENCE ARTS
SEASON 1997/98

The performing arts involve two main elements: performers and
spectators. A performance is not a performance without both of them.
Usually, more attention is paid to the performers than the spectators.
Although the spectator is essential to performing arts, few creative
initiatives have been conceived regarding the audience, with the
exception of promotional and marketing initiatives designed to increase
the size of the audience. The idea of “experimentalism” in the
performing arts is usually applied only to artists. The idea of
“experimentalism” in the audience - audience arts - has yet to be
explored. But this is not to suggest, however, that the spectator must
become a performer or that there is a need to educate the spectator.
The Centre for Experimentation in the Audience arts will be a structure
inside Teatri di Vita. Its aim will be to investigate the relationship
between performers and spectators. In its first year, the Centre will
focus its attention on the reactions of the spectators after the
performance. Activities will be organized into four distinct programs.
The Centre will work mainly in theoretical-scientific co-operation with
the University of Bologna and the University of Venice (prof. Fabrizio
Frasnedi and prof. Antonio Attisani). The Centre will operate in
conjunction with the international season of Teatri di Vita. The theatre
and dance performances scheduled will be the subjects of the
“experimental audience”. The performances, all in Italian premiere, come
from Hungary ("La soirée" after Jean-Paul Sartre; choreography Yvette
Bozsik), Slovenia ("Banket"; direction Emil Hrvatin), Bulgaria ("Le
Manteau"; Credo Theatre), Russia ("Bjélaya Kabína"; Axe), Great Britain
("Vesalius, a requiem"; The Resurrectionists), Belgium ("Winternacht";
choreography Karin Vyncke), France ("Paradis verrouillé"; direction
Stéphane Braunschweig), Germany ("Blut et Boredom"; Le Kwatt), Spain
("Aiguardent"; choreography Marta Carrasco) and Italy (new production by
:riflessi; direction Andrea Adriatico). The activities will take place
thanks to the co-operation of the artists. The Centre will involve only
the part of the audience at Teatri di Vita interested in this
experimentation.

Programs:
1. Internet. Creation of one Internet newsgroup/mailing list. The group
will be composed of all members of Teatri di Vita who have an e-mail
address. The group will initially discuss performances seen in Teatri di
Vita, but might also become a general discussion group. All the messages
will be collected by the Centre for final analysis. Principal aim: to
transform the random encounters of spectators during performances into a
cultural exchange beyond the performance.
2. Workgroups. Individuation of small groups of homogeneous persons
(i.e. students, club members, etc.; max. 5 persons) for each
performance. In other words, each performance will be linked to one of
these groups. Each group will seek collectively and autonomously its own
method for entering the performance (i.e. studying the plot of
performance or the style of the artist, etc.). The group will attend the
performance, and then will discuss and write a paper on the whole
experience. Principal aim: to insert the theatrical event into a
collective social entity.
3. Workshop on Theatrical Criticism. Creation of a workshop of
performing arts theory and criticism. The workshop will be held by one
critic. It will focus on analysis and writing practices in the
performances seen in Teatri di Vita. Principal aim: to encourage
spectators to develop and engage their own “critical knowledge” (the aim
is not to make new critics) and to find the right words to express that
knowledge. 
4. Experimental Group. Creation of a heterogeneous group (max. 10
persons) that will follow all the performances in the season. The group
will see each performance at the premiere on Saturday. Then, on Sunday
or Monday afternoon, the group will meet directly with the company for
an experimental workshop (1-2 hours).
The workshop will be run accordingly: the spectators will take the stage
(move inside the scenography) and the company will take the audience’s
seats. The members of the experimental group will tell the company what
they have seen/heard/understood/imagined/felt/thought/dreamed/etc...
starting from their vision of the performance. In a certain way, each
member will describe “his own” performance to the maker of the
performance itself. This walk-through will be both physical and mental,
made by the spectators on the performance location while the artists
look on from outside. This fourth program investigates the
power-relationship between artists and spectators, because it creates an
uncommon and unforeseeable feedback from audience to artists. And it
also forces the artists to listen to their audience in a new way, not
through the usual applause or bravo, and not through the usual public
conference. In fact, the audience will not ask the artists anything, but
the artists may question their spectators. For this program a principal
aim cannot be foreseen, but only a principal structure, because this
experiment has never before been realized, and only after this year we
will be able to reflect on its ultimate goals and impact.


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TEATRI DI VITA
Centro per la Sperimentazione dello Spettatore
:riflessi - societa' di pensieri
Via del Pratello 90/92
40122 Bologna - Italy
http://www2.comune.bologna.it/bologna/teatvita/
tel./fax: +39-(0)51-523113/522032
mailto:teatvita@iperbole.bologna.it
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